Joe Jachna A letter for Aaron (p. 12) Aaron, I know that photography came into your life later than it did to mine. It began for me in high school; for you after teaching literature, possessing a desire to play the piano and almost in mid life. Your early photography we call documentary; with it […]
Hauts-de-Seine, Parc de Sceaux, France, 1987. Czeslaw Milosz on Josef Koudelka’s “Exiles” While writing this essay I had before my eyes Josef Koudelka’s photographs. Let my words serve as a tribute to his art of telling stories without words. Rhythm is at the core of human life. It is, first of all, the rhythm of […]
Abiding Memories: Adam Bartos, Kosmos By Philip W. Martin, Afterimage, July 1, 2002 The striking thing–or what strikes you first–about Adam Bartos‘s photographs of the people and places of the Russian space program is that they let you In: into a world thought to be off-limits and into the space of the photographs themselves, which […]
SF Panorama, 1990 Another Look At The West – View Finder: Mark Klett, Photography, and the Reinvention of Landscape By Stephen Longmire, Afterimage, July 2001 We now view landscape photographs, both past and present, much like the shadows on the walls of Plato’s cave. They are artifacts of what we think we know about the land, […]
Mitchell dealt in discrete spaces and identified portraits, all bounded by comedy and geographic spots on Mars and Leeds. But Mitchell’s photographs were also locales for familiar industrial pastoral spaces, marred and broken by the same sense of contemporary cultural collapse which haunted Duff. Peter Mitchell- A New Refutation of the Viking IV […]
Tunnel Vision: Photographic Education in Britain in the 1980s By Simon Watney, Afterimage, January 1, 2006 In Britain the 1980s began in 1979 with the election of the first government of Margaret Thatcher, and it would be impossible to discuss any aspect of social life in Britain in that troubled and turbulent decade without some […]
The work of late American photographer Francesca Woodman, produced from the mid- to late-1970s, displays a unique artistic displacement and transformation of ‘feminine’ identity.
Red Cross, 2008 Los Angeles: Otis College of Art and Design, 2009, pp. 72-75 Elad Lassry approaches photography as if it is intangible, assuming that when broken into parts, the medium can productively turn in on itself. Lassry brings curiosity and intellect to “looking” and to the appropriation of existing images, displaying an unusually subtle […]
Chi LA #84 By Stephen Longmire, Afterimage, July 1, 2005 If Edward Hopper had been a photographer, he might have been Art Sinsabaugh. Both are poets of the ordinary, of the inhabited but often unpeopled landscape, sociologists of the visual with a magical realist touch. And both take as opportunities for their pictures the way the […]
Through a Glass, Darkly: Photography and Cultural Memory By: Alan Trachtenberg, Social Research, Saturday, March 22, 2008 “I don’t know why a Replicant would collect photos – maybe they were like Rachel – they needed memories.” In the role of the bounty hunter Rick Deckard in Ridley Scott’s 1982 cult classic, Blade Runner, Harrison Ford […]
Jorge Luis runs the most popular news blog in Ciudad Juarez. His site is called “La Polaka,” which is a derogatory word for “politician” in Mexican slang. Last fall after receiving threats to his life, Luis and his family fled the city for the safety of El Paso, Texas.
The Treacherous Medium: Why Photography Critics Hate Photographs Boston Review, by Susie Linfield In 1846, Charles Baudelaire wrote a little essay called “What is the Good of Criticism?” This is a question that virtually every critic asks herself at some point, and that some have answered with hopelessness, despair, even self-loathing. Baudelaire didn’t think that […]